“Good composition is like a suspension bridge; each line adds strength and takes none away… Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer – that is composition.”
— Robert Henri
I have been pulling back to basics this fall by concentrating on composition in my sketches. The more I experiment, the more I learn, and I’ve become intrigued by the idea of composing an image where the subject hugs the perimeter of the frame. In doing this, I am discovering that a tension occurs between the concentration of elements at the edges and any expanse of relatively unoccupied space (or large area that relies on an overall pattern). A heightened sense of abstraction seems to occur as a result, adding another layer to consider — which is a by-product I quite like.
I spent some time hunting for examples of this in the work of several of my favorite artists. Here are a few pieces that caught my attention.
Richard Diebenkorn Still Life with Letter, 1961 Oil on Canvas
Henri de Toulouse-Lautrec Equestrienne (At the Cirque Fernando), 1887-88 Oil on Canvas I spent a fair amount of time studying this piece at the Art Institute of Chicago last week. If they had offered, I would have gladly brought it home.
Susan Hertel http://www.susanhertel.com Susan Hertel, 1930-1993, was a New Mexico artist whose art “embodies what is marvelous in the mundane experiences of life”, a sentiment that resonates strongly with me. She had a menagerie of animals who were frequently the subject of her paintings. In my dog-less state these days, I find particular comfort in her work.
Dorothy Caldwell Alone with the Tinkling of Bells, 1991 Wax resist and discharged cotton with stitching, applique, gold leaf
Wayne Thiebaud Delicatessen Counter, 1963
I’m sure the reason I’ve found this way of organizing a picture so exciting is due to several things: my natural inclination toward asymmetry, an affinity for Japanese art — where this strategy is common, and the fact that I subscribe to the theory that a piece of art should be acknowledged as a 2-D interpretation, not an attempt to reproduce reality.
I’m including below a couple of examples of my own exploration of this idea.
Sandals ©2015 Elizabeth Fram
Scissors ©2015 Elizabeth Fram
An additional reward is that by incorporating the edges, subject matter that goes beyond the picture plane leaves the viewer with an opportunity to imagine “more”, rather than being presented with a neat package that has nothing further to say. I love the idea of building in another level of significance to a drawing by editing-out rather than adding-on.
How important is composition in the art that grabs your attention? Because I am so interested in design, it has significant power for me. Do you find that to be true as well — or is it the subject of a piece that first sways you?
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See this post for the simple tool I use to hone in on this discipline.
EXCELLENT! Wow. Thank you. Love the quote, the concepts you detail, the examples and, of course, your two sketches. The scissors on the table is genius. I sort of feel like I start either with the table’s carved flower or the scissors and end up in the opposite direction, delighted to have made the trip and wondering what is outside the borders of this wonderful little study. I’ve always been one to start with composition in my work. I can already tell the lines you have started this morning will continue throughout my day.
Thanks John! I’m glad these ideas resonate with you as well. Your photo ‘Evening Light on Snow’ is another example of distilling an image into an abstraction through composition. One recognizes it as a landscape, but the power of it, for me, is in it’s simplicity, strong forms and the play between the weight of the band of blue snow at the bottom and the lacy quality of the trees.
Betsy, in answer to your final question about subject matter or composition grabbing one’s attention, as I thought about it I came to believe that they work in tandem. The subject matter (or color, which may indeed be the subject) first grabs you, but if the composition is not strong, then the viewer may quickly move on to something else. It’s the composition that gives strength and foundation to the piece, thus keeping the viewer engaged. …..or, as your lead-off quote from Robert Henri said “…controlling the viewer”.
Karen Rosasco, a watermedia artist, has a strong compositional aspect to her work. From my first introduction to her work, I was captivated. But only when I really studied it to try to understand the attraction did I realize that her strength is in her composition, readily apparent in every piece. One feels grounded, cossetted almost, by her foundation lines, and then one is free to dance among her colors and imagery.
I agree with your prior respondent that it’s fascinating to see something slide off the edge of your sketches. The imagery and “mystery” stay with you long after your eye has turned elsewhere.
I always enjoy your thoughtful responses Marya – and will look forward to checking out Karen Rosasco’s work. I think you may have mentioned her before. I may be oversimplifying, but I agree that composition provides the structure that provides freedom & elbow room for all the other elements.